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Annual Review & Report 2012/13
ROYAL ACADEMY OF DANCE Annual Review & Report 2012/13 Royal Academy of Dance Annual Review & Report 2012/13 CONTENTS Chairman’s report 02 Chief Executive’s review 04 RAD leadership 06 The Trustees 10 The Academy 12 Examinations 14 Education 16 Continuing Professional Development 18 employees in UK and Republic As the professional membership body for 122of Ireland Membership 20 dance teachers, we will inspire and empower Student Activities 22 Step into Dance 24 dance teachers and students, members and Benesh Movement Notation 26 employees and representatives The Philip Richardson Library 28 staff to make innovative, artistic and lasting in international111 offices RAD Enterprises 30 contributions to dance and dance education Annual General Meeting 32 throughout the world. Summarised financial statements 34 freelance196 examiners Key performance indicators 36 Overview 37 At a glance 38 Statement of the Board of Trustees’ responsibilities 39 freelance teachers/guest lecturers 300 Independent auditor’s statement to the Trustees of Royal Academy of Dance 40 Group consolidated statement of financial activities 41 mentors 350 Group and charity balance sheets 42 Accounting policies 43 Scholarships, awards, bursaries & fundraising 45 practical teaching supervisors 200 Corporate governance 47 Offices 49 100tutors Our highlights of the year are produced in full in a separate publication, Your stories – Our highlights, created in conjunction with this Annual Review & Report. Photo: Evan Li; Cover photo: David photo: Tett Evan Li; Cover Photo: 02 Royal Academy of Dance Annual Review & Report 2012/13 03 CHAIRMAN’S REPORT The year under review has seen an almost unparalleled Along with our successes over the past year, we have level of activity at the Royal Academy of Dance. -
British Ballet Charity Gala
BRITISH BALLET CHARITY GALA HELD AT ROYAL ALBERT HALL on Thursday Evening, June 3rd, 2021 with the ROYAL BALLET SINFONIA The Orchestra of Birmingham Royal Ballet Principal Conductor: Mr. Paul Murphy, Leader: Mr. Robert Gibbs hosted by DAME DARCEY BUSSELL and MR. ORE ODUBA SCOTTISH BALLET NEW ADVENTURES DEXTERA SPITFIRE Choreography: Sophie Laplane Choreography: Matthew Bourne Music: Wolfgang Amadeus Mozart – Gran Partita and Eine kleine Nachtmusik Music: Excerpts from Don Quixote and La Bayadère by Léon Minkus; Dancers: Javier Andreu, Thomas Edwards, Grace Horler, Evan Loudon, Sophie and The Seasons, Op. 67 by Alexander Glazunov Martin, Rimbaud Patron, Claire Souet, Kayla-Maree Tarantolo, Aarón Venegas, Dancers: Harrison Dowzell, Paris Fitzpatrick, Glenn Graham, Andrew Anna Williams Monaghan, Dominic North, Danny Reubens Community Dance Company (CDC): Scottish Ballet Youth Exchange – CDC: Dance United Yorkshire – Artistic Director: Helen Linsell Director of Engagement: Catherine Cassidy ENGLISH NATIONAL BALLET BALLET BLACK SENSELESS KINDNESS Choreography: Yuri Possokhov THEN OR NOW Music: Piano Trio No. 1, Op. 8 by Dmitri Shostakovich, by kind permission Choreography: Will Tuckett of Boosey and Hawkes. Recorded by musicians from English National Music: Daniel Pioro and Heinrich Ignaz Franz von Biber – Passacaglia for solo Ballet Philharmonic, conducted by Gavin Sutherland. violin, featuring the voices of Natasha Gordon, Hafsah Bashir and Michael Dancers: Emma Hawes, Francesco Gabriele Frola, Alison McWhinney, Schae!er, and the poetry of -
Prospectus 2 About Us Rambert School, Is Recognised Internationally As One of the Small Group of First-Level Professional Dance Schools of the World
Director: Ross McKim MA PhD NBS (IDP) Patrons: Lady Anya Sainsbury CBE Robert Cohan CBE Prospectus 2 About Us Rambert School, is recognised internationally as one of the small group of first-level professional dance schools of the world. In order to remain so, and to support its students (given the demands they must confront), Rambert School provides a contained, bordered and protected environment through which an unusual and intense level of energy and professionalism is created, respected, treasured and sustained. “Rambert School is a place of education and training in Ballet, Contemporary Dance and Choreography. It seeks to cause or allow each student to achieve his or her unique potential personally and professionally. It encourages learning, reflection, research and creative discovery. Through these processes, as they relate to performance dance, all those at the school are provided with the opportunity to develop their vision, awareness, knowledge and insight into the world and the self. They may thus advance in terms of their art form and their lives.” Principal and Artistic Director Dr Ross McKim MA PhD NBS (IDP) Conservatoire for Dance and Drama Clifton Lodge, St Margaret’s Drive, Twickenham TW1 1QN Telephone: 020 8892 9960 Fax: 020 8892 8090 Mail: [email protected] www.rambertschool.org.uk 3 History Marie Rambert began teaching in London in 1919. In her autobiography she wrote, “In 1920 I collected the various pupils I had into a class and began teaching professionally.” This was the beginning of Rambert School which, in these early days, was based at Notting Hill Gate. Out of it grew Rambert Dance Company. -
Wayne Mcgregor | Random Dance
WAYNE MCGREGOR | RANDOM DANCE FEBRUARY 13, 2014 OZ SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler A MESSAGE FROM OZ Welcome and thank you for joining us for our first presentation as a new destination for contemporary performing and visual arts in Nashville. By being in the audience, you are not only supporting the visiting artists who have brought their work to Nashville for this rare occasion, you are also supporting the growth of contemporary art in this region. We thank you for your continued support. We are exceptionally lucky and very proud to have with us this evening, one of the worlds’ most inspiring choreographic minds, Wayne McGregor. An artist who emphasizes collaboration and a wide range of perspectives in his creative process, McGregor brings his own brilliant intellect and painterly vision to life in each of his works. In FAR, we witness the mind and body as interconnected forces; distorted and sensual within the same frame. As ten stunning dancers hyperextend and crouch, rapidly moving through light and shadow to a mesmerizing score, the relationship between imagination and movement becomes each viewer’s own interpretation. An acronym for Flesh in the Age of Reason, McGregor’s FAR investigates self-understanding and exemplifies the theme from Roy Porter’s novel by the same name, “that we outlive our mortal existence most enduringly in the ideas we leave behind.” Strap in. -
Royal Academy of Dance Graded Ballet Examination Information Pack
Royal Academy of Dance Graded Ballet Examination Information Pack Shore Dance ballet students have the opportunity to enter in a Royal Academy of Dance Graded Ballet exam. This is where the students perform their exercises from class in front of an examiner and receive a certificate and an assessment report. The ballet exams are a great experience for students and it also gives them something to work towards during the year. Please note that students must be aged 7 years and over to sit RAD graded ballet exams. What happens during an examination? Students who participate in an examination will enter the exam room with up to 3 fellow students. The examiner will then ask them to perform each of their exercises as they have learnt during their classes. The examiner will assess their performance and they will receive marks for each section, with an overall mark out of 100. When and where will they be held? They will be held at our Shore Dance studios, 17 Enterprise Street, Birkenhead. They could be any date between the 29th of July and the 2nd of September (scheduled by Royal Academy of Dance). Please note that exams are often scheduled on week days, and may require students to be taken out of school for a few hours on the day of their exam. What will students receive after they have passed their exam? Each student will receive an assessment report, with a mark out of 100 (must receive 40 out of 100 to pass). If the student passes the exam, they will receive a certificate with their grade (pass, merit, or distinction), and a medal (as shown below – bronze for pass, silver for merit, and gold for distinction). -
Bruhn, Erik (1928-1986) Erik Bruhn (Second from Left) Visiting Backstage at by John Mcfarland the New York City Ballet
Bruhn, Erik (1928-1986) Erik Bruhn (second from left) visiting backstage at by John McFarland the New York City Ballet. The group included (left Encyclopedia Copyright © 2015, glbtq, Inc. to right) Diana Adams, Entry Copyright © 2002, glbtq, Inc. Bruhn, Violette Verdy, Sonia Arova, and Reprinted from http://www.glbtq.com Rudolph Nureyev. Erik Bruhn was the premier male dancer of the 1950s and epitomized the ethereally handsome prince and cavalier on the international ballet stage of the decade. Combining flawless technique with an understanding of modern conflicted psychology, he set the standard by which the next generation of dancers, including Rudolf Nureyev, Mikhail Baryshnikov, Peter Schaufuss, and Peter Martins, measured their success. Born on October 3, 1928 in Copenhagen, Bruhn was the fourth child of Ellen Evers Bruhn, the owner of a successful hair salon. After the departure of his father when Erik was five years old, he was the sole male in a household with six women, five of them his seniors. An introspective child who was his mother's favorite, Erik was enrolled in dance classes at the age of six in part to counter signs of social withdrawal. He took to dance like a duck to water; three years later he auditioned for the Royal Danish Ballet School where he studied from 1937 to 1947. With his classic Nordic good looks, agility, and musicality, Bruhn seemed made for the August Bournonville technique taught at the school. He worked obsessively to master the technique's purity of line, lightness of jump, and clean footwork. Although Bruhn performed the works of the Royal Danish Ballet to perfection without any apparent effort, he yearned to reach beyond mere technique. -
Romantic Ballet
ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS. -
Ballet Master James Jordan Accepts Post As Ballet Master for Sarasota
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT : Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 www.kcballet.org Ballet Master James Jordan Accepts Post as Ballet Master for Sarasota Ballet Jordan to stay through 2013-14 Season and will return to stage The Nutcracker next season Kansas City, MO (April 10, 2014)— Kansas City Ballet Artistic Director Devon Carney today announced Ballet Master James Jordan has accepted a post as Ballet Master for Sarasota Ballet in Florida. Jordan will remain at Kansas City Ballet through the 2013-14 season and will return for the final year of Todd Bolender’s The Nutcracker this coming December. Jordan has dedicated nearly 30 years of service to Kansas City, first as a member of the Company from 1981-1987 and then as Ballet Master from 1991 to the present. “James has a national reputation as a stager for the ballets of Antony Tudor, working with companies around the country. His recent work with The Sarasota Ballet, which has a deep commitment to the Tudor works, afforded them the opportunity to see his value and shared passion for the historical works of Tudor and others. It was clear that the artistic values both Jordan and The Sarasota Ballet artistic leadership share, provided a natural progression for both parties,” stated Carney. “That said, he will be dearly missed. While technically the role of the Ballet Master is to assist with scheduling and the rehearsals for the Company, James was so, so much more than that. He truly was the ‘glue’ that held us all together. -
How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
http://news.yahoo.com/how-cuba-produces-some-of-the-best-ballet-dancers-020100947.html How Cuba Produces Some of the Best Ballet Dancers in the World By Noël Duan December 14, 2015 9:01 PM Recent graduates of the Ballet Nacional de Cuba School performing at the National Theater of Cuba in Havana in February 2015. (Photo: Getty Images) This story is part of a weeklong Yahoo series marking one year since the opening of relations between the United States and Cuba. Cuba is well known for many forms of dance, from the mambo and the tango to salsa, the cha- cha and the rumba. But only ballet enthusiasts know that the dance form is one of the country’s biggest cultural exports. In Cuba, ballet is just as popular as baseball, a sport where players from the Cuban national team regularly defect to the major leagues in the United States. Unlike in the United States, where ballet is generally considered highbrow art and Misty Copeland is the only ballerina with a household name, the Cuban government funds ballet training and subsidizes tickets to ballet performances. “Taxi drivers know who the principal dancers are,” Lester Tomé, a dance professor at Smith College and former dance critic in Cuba and Chile, tells Yahoo Beauty. Like Cuban baseball players, Cuban ballet dancers have made international marks around the world, from Xiomara Reyes, the recently retired principal dancer at New York City’s American Ballet Theatre to London’s English National Ballet ballet master Loipa Araújo, regarded as one of the “four jewels of Cuban ballet.” In September 2005, Erika Kinetz wrote in the New York Times that “training, especially Cuban training, has been a key driver of the Latinization of ballet,” an important note, considering that European ballet companies dominated the dance world for decades. -
Glen Tetley: Contributions to the Development of Modern
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. -
Dance Program and Ephemera Collection, 1909-1987
http://oac.cdlib.org/findaid/ark:/13030/kt1b69p38p No online items Guide to the Dance Program and Ephemera Collection, 1909-1987 Processed by Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. © 2003 The Regents of the University of California. All rights reserved. Guide to the Dance Program and MS-P026 1 Ephemera Collection, 1909-1987 Guide to the Dance Program and Ephemera Collection, 1909-1987 Collection number: MS-P26 Special Collections and Archives The UCI Libraries University of California Irvine, California Processed by: Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. Date Completed: 2002 Encoded by: Andre Ambrus © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance program and ephemera collection, Date (inclusive): 1909-1987 Collection number: MS-P026 Extent: 10.3 linear feet (25 boxes and 5 oversize folders) Repository: University of California, Irvine. Library. Special Collections and Archives. Irvine, California 92623-9557 Abstract: This collection comprises printed materials, primarily dance programs, documenting significant international dancers, dance companies, festivals, performances, and events. The bulk of this collection comprises materials on 20th century American and European ballet performers and companies, such as the American Ballet Theatre, Ballet Russes and related companies. The collection also contains dance programs documenting world and folk genres, and international dance styles, primarily Indian, Japanese, and Spanish. A small group of printed ephemera documents various dance festivals, dance companies, and individuals such as Isadora Duncan, George Balanchine, Mary Wigman, and others. -
Northern Ballet School Welcome Pack 2021/22 (PDF)
Northern Ballet School Manchester Welcome Pack ———— Join the movement Year 2021/22 ——— northernballetschool.co.uk Welcome to your Northern Ballet School Introduction from the College Principal of ICTheatre and Northern Ballet School ------ Congratulations on accepting your place to study at the Norther Ballet School. As the country emerges from the impact of the Covid 19 pandemic, whilst the green shoots of a changing industry are beginning to take hold, we are so excited to welcome you to our college. Our faculty of practitioners, artists and teachers are all incredibly motivated to share their diverse, first-hand professional expertise with you - as you begin your journey. Your first few days and weeks will see you step Ready yourself to open your mind, to embrace the outside your comfort zone, meet new, like-minded new and the unfamiliar. Prepare to stretch yourself people, and encourage you to embrace your both physically and mentally. Be open to new things, new Northern Ballet School family and all of the new ways of thinking, working, and performing. Learn opportunities that lie ahead. You will soon find to say ‘yes’ with the understanding that you will yourself surrounded by genuinely creative people discover and explore new enrichments, friendships bursting with ideas and potential. and industry connections that will provide you with all you need to enhance your ability to start a Manchester is such an exciting and energetic city, fulfilling career in the creative industries. and I would incite you to explore all the subtleties, scenes, and scenarios it offers up to its effervescent Lao Tzu, a Chinese philosopher, once said ‘every student population.